Director: Luigi Pastore
Writers: Emanuele Barbera, Luigi Pastore, Lucio Massa
Starring: Giovanni Lombardo Radice, Antonio Zequila, Lilli Carati, Steve Aquilina, Vincenzo Pezzopane, Erika Kamese, Antonio Tentori, Luigi Cozzi, Enzo G. Castellari, Barbara Magnolfi
Rome is shattered by a series of gruesome murders that paint the Eternal City deep red. The suspicion grows that these atrocious crimes are connected with the return of one of the most heinous serial killers of our time – Karl the Butcher.
The original VIOLENT SHIT was released in 1989 and directed by Andreas Schnass (ANTHROPOPHAGOUS 2000) – who has a cameo in this version along with the returning Steve Aquilina who additionally had a key role in the creating, filming and editing of the version. The original film started off as a gore Fx showreel before turning into a feature length and that initial focus shone through in both the quality of the Fx and the lack of quality in the film…but overall it proved to be a solid amateur effort and an enjoyable watch.
After several sequels of, let’s be honest, limited quality it was quite surprising that Italian director Luigi Pastore became involved in a reboot twenty-five years later.
Now no contemporary reboot would be complete without an origin story and this is no different with the pre-title sequence set, conveniently, 25 years in the past as we witness a young Karl being locked in a cupboard by his mother and subsequently being seduced (no not like that!) by the devil thereby starting his transformation from human to inhuman.
Now jumping to contemporary times we are treated to a monologue by the late and still beautiful Lilli Carati who continues the occult theme as she foretells of the coming of the antichrist and his puppet thereby setting the scene for the action that will come later.
Only being familiar with the original VIOLENT SHIT and not it’s sequels this supernatural element certainly added something new to the origin of Karl, however I was not expecting this and initially was left confused by the developing, lets call it , triumvirate of evil comprising of the devil, Professor Vassago (Lombardo Radice) and the Kevin Costner lookalike, Senator Vinci (Zequila) in particular the relationship between the three, not to mention the role of Karl the Butcher himself.
In almost complete contrast to the original, and apologies for the seemingly constant comparisons, the opening half hour is primarily taken up with exposition at the expense of any real onscreen action as myths are explored, the past explained and characters introduced. Out of this however we do get to witness the aftermath of a couple of murders with the finding of a bloody torso in a Rome park being of key interest.
It is this murder that introduces us to our primary detectives, the young Aristide D’Amato (fantastic joining of the real name of the director Aristide Massaccesi and his alias Joe D’Amato) as competently played by Vincenzo Pezzopane and Interpol agent Hans Ebert, which see’s VIOLENT SHIT stalwart Steve Aquilina reprising his detective role from an earlier film.
After more exposition between the two we are introduced to a couple more characters, and although just a cameo, Enzo Castellari (director of THE BRONX WARRIORS, IL GRANDE RACKET, THE LAST SHARK) and Luigi Cozzi (director of CONTAMINATION, THE KILLER MUST KILL AGAIN) steal the show. In particular, Castellari’s bitter, wise cracking forensic doctor is a particular highlight, emphasised even more thanks to the English dubbing he receives.
Due to this new story angle the occult takes precedence, aided by a creepy looking Giovanni Lombardo Radice (CANNIBAL FEROX, CITY OF THE LIVING DEAD) who in the role of the mysterious Professor Vassago is clearly at the centre of what is going on but as a result of this shift and the inclusion of an origin of Karl’s evil and motives, the plot receives an extended explanation and set-up thereby relegating Karl the Butcher and any violence to the background for the majority of the movie.
It is because of this necessity to explain, or at least the writers belief in its necessity, that the film suffers, in order to allow the new plot narrative greater emphasis needed to be given to character, set up and mystery – which Pastore and co. manage but in a film entitled Violent Shit and one with a history such as it has, fans might be expecting something less subtle and less developed and more direct, more violent.
It is not until the final third that things really begin to heat up as the creepy professor hosts a dinner party cum orgy for the Senator and a few of his friends. Things clearly get out of hand here in an orgy of drugs, sex and cannibalism, with the inclusion and excess of the perversions no doubt aided by the influence of co-writer Lucio Massa (HIPPOCAMPUS M 21th) and this set up perfectly juxtaposes life and sex with death and violence. Pastore delights in showing us the outer flesh one moment and the inner flesh the next as Karl the Butcher finally makes his real entrance and brutally slaughters all those in his path.
As with all lower budget films the performances are mixed both in terms of in front of camera and of course the dubbing, with some suffering more than others and you can’t shake the feeling that some voice actors are just reading through the lines with no inflection, accents or passion while others have that 1980s style high pitched voice that no one actually sounds like. But there are several positives namely Antonio Zequila as the sleazy Senator, Vincenzo Pezzopane as the detective and best of all Enzo Castellari.
Overall this effort is much more restrained than the original films which is a shame as it fails to find that balance between characterisation and extreme violence. However when the violence is shown, much credit must go to David Bracci (SLEEPLESS, EATERS) for his work which is exceptional, in particular the castration of one young male is exceptionally well done and it is clear that he has learned well from the master Sergio Stivaletti.
One could also argue that this is a meta-film, aware of both itself (the detectives watch footage from the original film showing Karl’s past action) and the industry (namely the character names such as D’Amato and Fulci as well as those playing versions of themselves such as Castellari, Cozzi and Tentori) and these moments are both a lot of fun and interwoven well into the story.
VIOLENT SHIT: THE MOVIE makes it difficult for a critic or even a genre fan to either like or dislike. While it is commendable that Pastore and co. take the series in a new direction and attempt to add some texture and background to the characters, it is done so at the expense of the films essence. The very thing that had previously defined the series, namely the frequent over the top gore has been replaced with a supernatural mystery with the result being a more layered and considered film but one lacking the direct, brutal action that it requires.
Credit has to go to the team for trying something new and while it fails to hit the mark the cameos, the references and the humour all work particularly well and make this film worthwhile for fans of Italian horror to check out and ending on a high note, the soundtrack performed by Claudio Simonetti’s Goblin again is spot on. Having previously scored Luigi Pastore’s last work SYMPHONY IN BLOOD RED, these two appear to be forming a strong professional relationship and long may it continue.
I reviewed the 2015 media book version as put out by 8-films which featured a blu ray and dvd version of the film alongside a CD of he original soundtrack by Claudio Simonetti’s Goblin. This version is limited to 999 copies. Standard versions of the film have been released.
The extras feature a stills gallery, the almost mandatory film trailer and international trailer as well as a tribute to the actress Lilli Carati. The tribute features her last interview which although brief is very nice and quite moving as she discusses her past and excitement to working alongside Luigi Pastore and in the horror genre. Unfortunately she passed away before the full project that she was working on could come to fruition.
Other extras include a ten minute ‘The origins of the myth’ in which Steve Aquilina discusses the reason behind the films name and how the reboot came around. Steve is a very interesting guy and the only shame is that this segment was not longer. However a counterview to this comes in the shape of the ‘Making of’ which tells the story of this film came about but from the Italian perspective, adding further context and details alongside several behind the scenes shots and explanation of why certain filming and plot decisions were made. These revelations or rather justifications actually added a different element to the film and made me reconsider my thoughts on the film and its plot points and drivers with Pastore stating that they “tried to combine the German ultra gore with the Italian thriller” and on reflection that does come across even if the balance is not quite right. A further interesting piece goes on to explain the inclusion of the sequence with the late Lilli Carati, which threw me on first watch. Initially her role and the footage was meant for another movie only for it to be adapted posthumously into this film as a tribute.
Finally we are treated to brief interviews with the cast which is interestingly and it is always nice to see on these types of films that the actors are there for the right reasons and not just a paycheque, although it adds little compared the previous two additions it still is worth checking out.